Enjoy...I tried to make the files shorter so they won't take forever to download...

You should do a follow up article on interacting with a rank colorist. So many people get gypped (Is Gypped short for gypsie, it never dawned on me until I just typed it out, another politically incorrect word I suppose) out of the experience because they either can't afford it or don't see the value of it.

Wow. great examples. I was struck by how the 500T let you shoot wide open at night and get good images.

But! Dude! You have to let me hang lights, pull cable, do whatever for your next film, for free!

You know some fine ass women!!!

F.R.

Sure! I sure could have used some PAs on our first day of filming. We had a crew of five - director, DP, slate, makeup, gaffer...I was ready to collapse after 12 hours...

I loved the velvia blues. Was there any significant differences between the 2 telecines?

No - I think I just told the colorist to keep the saturation up and not tone it down. He offered to but I liked the look.

You should do a follow up article on interacting with a rank colorist. So many people get gypped (Is Gypped short for gypsie, it never dawned on me until I just typed it out, another politically incorrect word I suppose) out of the experience because they either can't afford it or don't see the value of it.

Not a bad idea. I've heard some people say that they are happy just using a DV cam and capturing the footage off a white piece of paper but for this film I don't know what I would have done without a real colorist using a Da Vinci color corrector and telecine. Since I wanted to create a certain "look" for the two different locales (L.A.'s "westside" vs. the San Fernando Valley) I needed to sit down with the colorist and explain what I wanted and go over the options. It wasn't cheap by any means but for this project it was essential.

I've heard some people say that they are happy just using a DV cam and capturing the footage off a white piece of paper but for this film I don't know what I would have done without a real colorist using a Da Vinci color corrector and telecine. Since I wanted to create a certain "look" for the two different locales (L.A.'s "westside" vs. the San Fernando Valley) I needed to sit down with the colorist and explain what I wanted and go over the options. It wasn't cheap by any means but for this project it was essential.

I understand what you mean when you say it wasn't cheap by any means, however, compared to taking even one high end filmmaking class at USC it's an incredible education and much cheaper, especially because the filmmaker isn't just hearing and seeing someone else talk about their own work, rather it's the filmmaker seeing what can and can't be done to their own footage that they actually shot themselves.